Once a study limited to Kings, Mormons, and the elderly, genealogy is now a burgeoning industry spurred on my the average human being’s need for social connection and a place of their own in a world bursting with fellow humans.

While it is indisputable that we all emerged from the same gene pool and are related in some degree, the families, clans, and tribal affiliations to which we belong are what give us both our individual identity and yet tie us into the common humanity. Understanding this is what enables us to make sense of both historical and current events.

Knowing as an individual that you are connected to everyone else is really not enough, it is simply too abstract a concept to grasp… too easy to transcend… to easy to miss the mark and view others in an objectified way based on limited views informed by too may other systems (religious, political) to recognize the common humanity in another. Identifying the connections is what enables us to transcend the boundaries that define us and create a solid sense of connectedness that enables us to address the real issues that challenge our common humanity.

More than ever people are reaching out and making use of tools and services that enable them to discover their unique place in the larger picture.  And who some of these people are would surprise you. Historians, Anthropologists, Political Scientists and 7th grade schoolgirls. New questions emerge in the debate what does it mean to be an American, an Immigrant, Black, Hispanic, Native American.

The past two years in American media has been a real eye opener new discoveries regarding the origins and place of the family of US President, Barack Obama, have emerged. And much of this is due to the efforts of BridgeAnn d’Avignon,  a single 7th Grade school girl who has made a difference in American politics by discovering that President Barack Obama is related to every other US President except Martin Van Buren.

Learn more about this amazing Irish-American lineage and its connections to the Luo tribe of Kenya and its place in the common heritage of US Presidents.

In 1781 Los Angeles started out as a small Spanish Colonial settlement on the banks of the El Río de Nuestra Señora la Reina de los Ángeles de Porciúncula (Los Angeles River). At that time the emphasis was on swift and functional construction rather than on architecture designed to express the glory of God or the grandeur of the Empire. The pueblo erected by Conquistador Felipe de Neve was simple adobe without ostentatious ornamental display. Faced with the vagaries of colonial living and rebuilding as a consequence of the constant battle with the local river (which flooded annually). The architecture remained utilitarian in design and simple in expression through the first two decades of the 1800’s.

Within the first two decades of the 1800’s, three architecturally significant cathedrals (La Iglesia de Nuestra Señora Reina de los Angeles, Mission San Fernando Rey de España, Mission San Gabriel Arcángel) were erected in the Spanish Neoclassical Minimalist style.

By 1850 the Spanish influence on architecture of the Los Angeles area was on the wane due to the successive waves of migrating Yankees and Jews eager to find work in the area’s emerging oil and mining industries began to flood the Los Angeles River basin. This migration was  fueled by extended labor disputes in the union labor towns of Northern California (San Francisco, Oakland etc.) in the latter decades of the 1800’s. When these displaced and dissatisfied workers fled these towns, they brought with them their open labor shops and set up an industrial base in the L.A. area.

As these immigrants set up homes in the area the architecture of Main Street Los Angeles became nearly indistinguishable from the Main Street of  any similar sized city in the Midwest. Adobe was replaced by fired brick and woodframe construction as the preferred medium of construction. Eastern styles such as Mansard, Victorian, Queen Anne, Eastlake, Anglo-Colonial Revival, and Beau-arts predominated.  Henry Hobson Richardson introduced the concept of the classical column in urban architecture, where the first two floors of city high rise buildings provided a strong formed base for the uniformly modeled floors above topped with a capital comprised of an lavishly decorated top floor that gave architectural definition to the entire building.

Despite the flood of immigrants and construction boom, and because of the availability of arable land surrounding the city, Los Angeles itself remained small until 1900. It was not until after 1900, that Los Angeles experienced its fastest period of growth when the advent of the automobile age enabled Americans from all over, attracted to the mild Mediterranean climate, cheap land, and a wide variety of geography, to migrated over what was now a relatively short drive by truck. Old buildings were razed to make way for newer bigger buildings to accommodate the burgeoning population, and need for public space.

The turn of the century saw the establishment of several organizations founded by persons who were alarmed by the rate of destruction of historical Spanish Mission style buildings. in 1894 the California Landmarks Club was founded to preserve and restore California’s Mission churches. This organization did much to influence the incorporation of Mission Style elements into buildings other than the religious edifice. Tile roofs, gables, arches, dome, quatrefoil windows and other restoration elements soon found their way into commercial and public buildings and private residences. Contemporary to and often hand in had with this move to incorporate Mission Style elements was the spread of the Contemporaneous with the spread of Mission Revival and its return to a simpler past was the development of the Arts and Crafts movement (among the middle to upper income homeowners) and its less affluent sister the California Bungalow.

Following WWI, impetus was given to revivalist efforts as a new conservatism manifested among the citizenry. Revivalist styles took on a new flamboyant extravagance. In 1915 Bertram Goodhue and his group of fellow architects introduced the Spanish Plateresque and Churrigueresque forms of Mission architecture for use in public and religious buildings that had to this point not been seen outside of Mexico. While the International style, so popular in Europe following WWI, was rejected in favor of Stylized Modernism as inspired by the designs of Frank Lloyd Wright (who despised the European International Style).

American architects, true to the American ethos of adopting anything and everything foreign, translating it and remaking it into its own cosmopolitan image, began a movement which incorporated into its ethic, a reductionist approach to then current design trends. The European Art Nouveau was toned down to a more popular Art Deco which in turn gave way gradually during the latter half of the 20′a to the Streamline Moderne in the 1930s, and a quieter more subdued “Mediterranean” form was adopted in domestic architecture.

Entire neighborhoods took on an exotic flavor and utilized by the area’s film industry as  backdrops and models for locally produced “foreign films.” In fact, the movie industry would have a large impact on the Architecture of Los Angeles, eventually converting the entire city to a virtual film studio. Hollywoodland began in 1888 as a small residential development spearheaded by resident Harvey Henderson Wilcox and his wife, Daeida. It was incorporated as an independent city in 1903 but then annexed to the larger city of Los Angeles in 1910. By 1923 developers Woodruff and Shoults conceive of “Hollywoodland” as a neighborhood of “superb environment without excessive cost on the Hollywood side of the hills,” and construction of Lake Hollywood Reservoir commences to provide the neighborhood with water.

In 1923 land in the Hollywood area was purchased by Hirsz, Aaron, Szmul, and Itzhak Wonskolaser (aka. Harry, Albert, Sam, and Jack Warner) for the purpose of setting up a motion picture studio, not far from the studio offices of Louis Burt Mayer then owner of Louis B. Mayer Pictures and Hollywood resident. Mayer’s business would later merge with Metro Pictures and Goldwyn Pictures Corporation in 1924 under the leadership of Marcus Loew to become MGM Studios.  The name Hollywood would become synonymous with the film industry itself during the Studio Era as westerns were shot in Owens Valley, desert films were shot in Death Valley, Pirate movies were shot in Carmel, winter movies were shot in San Bernardino and movies set in the Mediterranean or the eastern U.S. were shot on location in and around the city of Los Angeles.

During the years from 1922 – 1959, R.M. Schindler and his Wright inspired group of associates who nearly single-handedly transformed Los Angeles into the center of the American Modernist Movement. The more innovative among them spearheading the unfortunately named Postmodern movement. (Rather than being a forward leaning movement, as its name would suggest, Postmodernism actually strives to create a synthesis of past and future by combining the clean modernist lines with features and details from past styles.)

Following WWII this Postmodernism, inspired by the tools and technologies of the Atomic Age, took on an increasingly fantastic expression by incorporating elements of industrial pop culture and iconic mechanical designs.  Los Angeles became the birthplace of the postmodern sub-style known as “Googie” or, alternately, “Populuxe.” The first known instance of Populuxe architecture was the Googie Coffee Shop on the corner of Sunset Boulevard and Crescent Heights which while giving a nod to Streamlined Moderne, wen above and beyond in incorporating interpretive elements of the atomic age. This landmark building was later demolished in 1980’s.

Characteristics of Googie or Populuxe style are  upswept cantilevered roofs, curvaceous, acute angles and geometric  shapes, and bold use of glass, steel, neon illumination, plastic paneling and lines evocative of flight and motion, such as free-form boomerangs, flying saucers, atoms, cutouts, parabolas, and tail fins. Like most of the trendy pop culture based styles (such as Art Deco), most of the buildings of this era have not survived  urbanization pressures and have been demolished to make way for more modernist style buildings.

The latter half of the century (from 1980’s on) saw a return to the core ethics of the Internationalist style. While the Postmodern Style  still dominated the more novel or expressionist elements were toned down or eliminated in favor of a more subtle expression of the stylistic fusionism so characteristic of American Architecture. Key examples of this new direction would be St Matthew’s Episcopal Church in Pacific Palisades, the First Church of Christ, Scientist in Glendale, Frank Gehry’s Walt Disney Concert Hall, and Rafael Moneo’s Roman Catholic Cathedral of Our Lady of the Angels in the Spanish International revival style. The latter structure is unique in its external austerity while its interior maximizes space and the play of light in the earlier Gothic style.

The new millennium has been ushered in with a return to introspection on the part of the American people as a whole. We are asking ourselves questions about sustainability for the future.  While it appears that most of the more imaginative architecture is still being created on L.A.’s west side, (Culver City, Santa Monica, Venice and West Hollywood). Most of the work for new architects is in the fields of interior design. While some factors such as the current poor economy, cultural consumerism, and a highly transitional population have conspired to waste precious architectural talent on empty and short-lived remodeling gigs, other factors such as population pressures and the need for historical preservation work together to move architectural consideration toward the new and relatively unexplored study of Urban Sustainability.

With the average Californian’s new introspection on the need for renewable resources, and sustainable living the architectural style in Los Angeles promises to change again in a major direction that will blends eco-sustainable urban living with more organic contemporary designs (for new buildings) and wholesale Green Conversion of the more historical buildings.  We may in the future end up with a city that resembles more closely the legendary hanging gardens of Babylon than Main Street USA.

Additional References:

Archiplanet: Los Angeles

Chronology of Architecture in Los Angeles

Document LA

Year:	Stylistic Period:Style	Architect:	Example:
1780	Spanish Colonial	Felipe de Neve	Pueblo de Los Angeles
1820	Spanish Neo-Classical Minimalist		La Iglesia de Nuestra Señora Reina de los Angeles, Mission San Fernando Rey de España, Mission San Gabriel Arcángel
1869	Eastern Styles: Italianate	Ezra Kysor	Pio Pico House Hotel
1877	Eastern Styles: Mansard		Shaw House
1894	Eastern Styles: Queen Anne		Wright-Mooers House
	Eastern Styles: Victorian	Bradbeer & Ferris
	Eastern Styles: Victorian	Ernest Coxhead
	Eastern Styles: Victorian	Seymour Locke
	Eastern Styles: Victorian	Merithew and Ferris
	Eastern Styles: Victorian	Joseph Cather Newsome
	Eastern Styles: Victorian	W.F. Norton
	Eastern Styles: Victorian	A.N.W. Parkes
	Eastern Styles: Victorian	Harry Ridgeway
1893	Eastern Styles: Richardson Romanesque	H.H. Richardson	Stimson Block, Stimson House,
1901	Eastern Styles: Richardson Romanesque	H.H. Richardson	Holliston Avenue Methodist Church
1910	Eastern Styles: Beau-Arts	Hudson and Munsell	Museum of Natural History
1925-1933	Eastern Styles: Beau-Arts	John C. Austin	Griffith Observatory, Los Angeles City Hall, and the Shrine Auditorium.
1923-1924	Eastern Styles: Beau-Arts	Robert Farquhar	William Andrews Clark Memorial Library, The Paramour Mansion
	Eastern Styles: Beau-Arts	Morgan, Walls & Clements
	Eastern Styles: Beau-Arts	Walker & Eisen
1902	Mission Revival	A.B. Benton	Mission Inn- Riverside
	Mission Revival	Irving J. Gill
	Mission Revival	Sumner Hunt
	Mission Revival	Lester S Moore
	Mission Revival	Frederick Louis Roehrig
	Arts and Crafts	Joseph J Blick
	Arts and Crafts	Irving J Gill
	Arts and Crafts	Charles and Henry Greene
	Arts and Crafts	Arthur S & Alfred Heineman
	Arts and Crafts	Sylvanus Marston
	Arts and Crafts	Ross Montgomery
	Arts and Crafts	Frederick Louis Roehrig
1925	Mission Revival: Mediterranian	George Washington Smith	Baldwin House
	Mission Revival:	Allison & Allison
	Mission Revival:	John Byers
	Mission Revival:	Roland Coate
	Mission Revival:	Elmer Grey
	Mission Revival:	Myron Hunt
	Mission Revival:	Reginald Johnson
	Mission Revival:	Gordon B. Kaufmann
	Mission Revival:	Marston, Van Pelt, & Maybury
	Mission Revival:	Ross Montgomery
	Mission Revival:	Wallace Neff	Libby Ranch, Pickfair Estate
	Mission Revival:	Parkinson & Parkinson
	Mission Revival:	Irving J. Gill	Dodge House
	Art Deco	Arthur E. Harvey	Selig Retail Store
1927	International Style	Rudolph M. Schindler	Kings Road House, Pueblo Ribera Court, Lovell Beach House, Wolfe House, and How House, Manola Court, Oliver House, Buck House, Rodakiewicz House, Bubeshko Apartments, Mackey Apartments, Goodwin House
1919	American Modernist	Frank Lloyd Wright	Hollyhock House
1929	International Style: American Modernism	Richard Neutra	Lovell Apartments
1865	International Style: American Modernism	Craig Ellwood	Kubly House
1949	International Style: Expressionist	John Lautner	l'Horizon Apartments
1963	International Style: Expressionist	Edward D. Stone	Beckman Auditorium
1985	Postmodern	Frank O. Gehry	Chiat-Day-Mojo Building
1984	Postmodern	Richard Meier	J. Paul Getty Center for the Arts
	Postmodern	Mark Mack	Mack House
1982	Postmodern	Charles W. Moore	St. Matthew's Episcopal Church
1947	International	Gregory Ain	Mar Vista Tract Housing
	International	Charles & Ray Eames
1976	International	Craig Ellwood	Art Center College of Design (Hillside Campus)
	International	Harwell H. Harris
	International	A. Quincy Jones	Sunnylands (Annenberg Estate)
	International	Raymond Kappe	The Benton House
1959	International	Pierre Koenig	The Stahl House
	International	Lotery/Boccato
	International	Richard Meier
	International	Richard Neutra
	International	R.M. Schindler
1936	International	Raphael Soriano	Lipitz House
	International	Smith & Williams
	Postmodern: Neo-Expressionist	Belzberg Architects
	Postmodern: Neo-Expressionist	Rebecca Binder
	Postmodern: Neo-Expressionist	Cavaedium
	Postmodern: Neo-Expressionist	Chu & Gooding
	Postmodern: Neo-Expressionist	Daly, Genik Architects
	Postmodern: Neo-Expressionist	Steven Ehrich Architects
<1969	Postmodern: Neo-Expressionist	Wilton Becket (Ellerbe Becket)	Capitol Records Building, Cinerama Dome, Pan-Pacific Auditorium, Los Angeles Music Center (including the Dorothy Chandler Pavilion), Pauley Pavilion, UCLA, Beverly Hilton Hotel, Parker Center
	Postmodern: Neo-Expressionist	Frederick Fisher & Partners
	Postmodern: Neo-Expressionist	Frank O. Gehry and Associates
	Postmodern: Neo-Expressionist	Gensler Architecture
1978	Postmodern: Neo-Expressionist	Bruce Goff	Japanese Art Pavilion at the Los Angeles County Museum of Art.
	Postmodern: Neo-Expressionist	David Lawrence Gray
	Postmodern: Neo-Expressionist	Melinda Gray
	Postmodern: Neo-Expressionist	Grinstein/Daniels Architects
	Postmodern: Neo-Expressionist	Hodgetts & Fung
	Postmodern: Neo-Expressionist	Glen Irani
	Postmodern: Neo-Expressionist	Franklin D. Israel
	Postmodern: Neo-Expressionist	John Lautner
	Postmodern: Neo-Expressionist	Johnson, Favaro
	Postmodern: Neo-Expressionist	Kanner Architects
	Postmodern: Neo-Expressionist	Koenig Eizenberg Architecture
1992	Postmodern: Neo-Expressionist	Richardo Legoretta	Pershing Square Rennovation
	Postmodern: Neo-Expressionist	Mark Mack
	Postmodern: Neo-Expressionist	Michael Maltzan
	Postmodern: Neo-Expressionist	Marmol Radziner & Associates
1988	Postmodern: Neo-Expressionist	Charles Willard Moore	Beverly Hills Civic Center
	Postmodern: Neo-Expressionist	Morphosis
	Postmodern: Neo-Expressionist	Eric Owen Moss
	Postmodern: Neo-Expressionist	I.M. Pei
1975-1988	Postmodern: Neo-Expressionist	Cesar Pelli	Pacific Design Center, 777 Tower
	Postmodern: Neo-Expressionist	Pugh & Scarpa
	Postmodern: Neo-Expressionist	Michael Rotondi
	Postmodern: Neo-Expressionist	Hak Sik Son
	Postmodern: Neo-Expressionist	Syndesis (David Hertz)
	Postmodern: Neo-Expressionist	Venturi, Scott-Brown & Associates
	Postmodern: Neo-Expressionist	Mehrdad Yasdani
1989	Beau-Arts	Lawrence Halprin	Bunker Hill Steps

I noticed that in the Rodovid Genealogy Tree Aud Gamle is entered as “Aud Jorundsson (Gamle , Инглинги) d. 495.” The Russian name after Gamle, is pronounced “Eengleenree.”  Kind of sounds like Angle, as in the tribe that settled in England and gave it its name?

SECRET HISTORY X REPLY -

Aud was an Yngling. Which is used to designate descent from Yngve, and which means literally “Yngve’s offspring. “  The tribal affiliation of Yngve and his offspring was originally an invading Swyddian (Pronounced Swithian) tribe that was related to the Indo-Iranian people of  the  Carpathian and Black Sea region (Scythian/Dacio-Sarmation Getae). Their tribal name gave rise to the modern name Sweden “Sverige” as they began to dominate over the neighboring tribes. Newest evidence is indicating a same area of origin for the Angles that settled in southern England during a later colonial period. The Angles early on has status as “Foederati” or military confederates of the early Roman Republic. Many of these relocated to and remained in North West Europe when the Republic fell in 450 AD.

This is a response to your request for information with regard to relationship between the Bulkeley Family and the Avery and Prescott family. It seems both families in question share a common bond to the island of Roatan in the person of Charles “Kyle” Bulkeley, an early 18th century pirate captain and buccaneer.

In 1723/1724 an approximately 20-year-old-man from New England, Philip Ashton, managed to survive as a castaway on the island for sixteen months until he was finally rescued[1]. During that time they were governed by King Bull Kyle, a red-haired white man, unusual for the location considering it is an island of hispanics.

But who was King Bull Kyle? Researching further I discovered in Ashton’s memoirs additional mention of this mysterious king including his full name. Bull Kyle was the name given to him by the natives, however in discourse with Ashton, he revealed his name as Edward Chauncy Bulkekey. A marooned privateer sailor gone native.

His middle name gave me a clue which led to the unfolding of this man’s origins although much of his personal story remains a mystery. We do not know the full tale of how he ended up the Pirate King on a tropical island off the coast of Honduras. His father was Captain Peter Bulkeley (son of Rev Gershom Bulkeley and Sarah Chauncey) and his mother was Dorothy Hoare Prescott. Dorothy Prescott was the daughter of Captain Jonathan Prescott by his second wife Elizabeth Hoare (daughter of John Hoare and granddaughter of Charles Hoare the Sheriff of Gloucester England).

1669 Gold Guinea

That King Kyle kept his family (including his good reverend Grandfather) well supplied is evident by the will left by Rev Gershom wherein he bequeaths to his daughter in law (King Kyle’s mother) a gold Guinea, and to his daughters in law Hannah Avery[5] and Rachel Wolcott, each a golden ducat. To King Kyle’s uncle the Reverend Gershom bequeathed his grandfather clock (a rumored treasure cache), his seal, his gilt spoon, and silver porrigers, and all his legal books and additional tools for the timber mills [4] which supplied his son’s shipbuilding business.

It is interesting to note that in his journal, Revered Bulkeley mentions in passing the delivery of the clock stating that it was so heavy that one of the men who bore it broke a collar bone.[6]

[1] See Edward E. Leslie, “Desperate Journeys, Abandoned Souls”, 1988, pp.100–120

[2] See Charles S. Hall, “A SERIES OF SKETCHES OF THE LINEAL ANCESTORS OF THE CHILDREN OF SAMUEL HOLDEN PARSONS HALL AND HIS WIFE EMELINE BULKELEY OF BINGHAMTON NY …”, GP PUTNAM’S SONS 1896: p

[3] ANSON S Voyage. Bulkeley and Cummins Voyage to the South Seas, and Narrative of the loss of the ship ” Wager.” 8vo. 1743

[4] Roatan was also named “Isle del esPina” (Island of Pines)

[5] Hannah Avery’s maiden name was Raymond. She was married to Charles the son of Reverend Bulkeley. Her husband died whilst she was pregnant with Charles’ child (a daughter whom she named Hannah, who was born in India). She remarried quickly to Captain Thomas Avery the son of Captain James Avery.

[6] Proceedings, American Philosophical Society (vol. 131, No. 4, 1987)

In researching the family connections of the men who sailed aboard the Amity with Thomas Tew in 1692, I stumbled upon the following will and testament illustrating the relationship between Thomas Lewis and Barent Rynder (both men aboard the Amity).

“In the name of God, Amen. I, Thomas Lewis[1], of New York, merchant, being in good health, but now bound out on a voyage[2], and knowing that the time is uncertain when it will please God to take me out of this vile and transitory world.” And to the end that no variances might hereafter arise do make this my last will and testament. I give to my son, Thomas Lewis, €5, when he is 21, over and above all other legacies. The rest of my estate I leave to my wife, Frances Lewis, during widowhood, with full power to sell houses and lands with the advice and consent of my brothers, Leonard Lewis and Barent Rynders. If my wife should marry, then she is to have and enjoy the household stuff and wearing apparell, jewels, rings, diamonds, etc., and one half of my estate in houses and lands. When she remarries, the estate is to be divided, and the share of my children is to be put into the hands of my brothers, Leonard Lewis and Barent Rynders, who I name as executors.

Dated January 10, 1699/1700[2].

Votre Ami,

Pamela Bradford

[1] Genealogy charts for Barent Rynders and Thomas Lewis are available on Rodovid.org

[2] This will was written prior to Thomas’ second voyage with Tew.  The cache of treasure (apparel, jewels, rings, diamonds) from his first voyage is mentioned in his will to be given to his wife if she be widowed, and divided evenly if she remarries.

King Argenteus of Tartessos

This king, whose name is rendered in a variety of ways, is credited by ancient historians with a lifespan of 120 years. According to Herodotus, King Arganthonios ruled Tartessia for 80 years, from 630 BC to 550 BC. It is probable that he is thus credited with this longevity due to a the fact that is name is a title rather than a proper name, and the historians inadvertently credited one man with the works of several generations of kings.

What is certain is that the Biblical kingdom of Tartessos was ruled by this proto-Iranian/Gaelic King  from a capital city  located beyond the Straits of Gibraltar on the southwest corner of the Iberian Peninsula. The prophet Jonah attempted to flee from God’s command by escaping in the hold of a ship that was bound for the capital city of Tartessos (as far away from Nineveh as he could get). After an agonizing journey in the rough waters of the Mediterranean, he was discovered as a stowaway (no doubt while he was barfing from seasickness) and put off on shore.

This King of Kings held mining concerns in Spain, Cornwall, and Wales, with vast trade networks that spanned the Globe. (No small feat for kings in the millenia before the common era). The precious metals and coinage that were exported from his kingdom eventually brought about the collapse of the Persian monetary system. The bible and other ancient histories tell of rich fabrics, leather, peacocks, ivory and exotic foods and spices that were provided to the ancient world via the “Ships of Tartessos“.

This Gaelic king ruled a highly literate population, spoke a language that seems to be some sort of hybrid of the several major languages in extant at the time. I am willing to bet that the tradesmen of this Kingdom/Empire of Tartessos, based as it was on maritime trade, originated of many of the earliest maps that showed not only the coast lines of other continents (including Africa, and north/south America), but showing them with such incredible detail and accuracy that during the middle ages many of them were gathered and burned along with the gnostic scriptures and other historical documents as part of an orchestrated effort of modern Rome to conquer and subdue the peoples of Languedoc and Iberia.

Georgeos Diaz-Montexano

The jewelry depicted in the portrait of Argenteus, by artist Georgeos Díaz-Montexano , actually exists. The rest of the portrait is conjecture based upon the archeological evidence of local custom with regards to style and ethnic connections.

More on the history, culture, kings, capital cities, and records of antiquity with regard to the kingdom of Tartessos including its ties to anti-diluvean Atlantean kingdom of Dilmun and the Tainite Confederation has been authored by Mr Montexano. His research is thorough, factual and based on empirical evidence rather than the radical emotionalism and religious fervor that traditionally accompany other assertions and theories regarding the location of the elusive “Island of Atlantis.”

The days have been dark and cold here in the north. But my research efforts continue among the MikMaq.  I understand with sympathy that it is against their heart to participate in the DNA test. Their language, writing, and heritage has been much abused and I feel they are afraid. The problem is to explain what it is we are looking for in the tests. I can explain that the tests are means to unite families but their families are not fragmented as ours; so that explanation is helpless. How can I explain to them that after many centuries their blood is now a common element in the families of many …non native peoples. Then the mistrust thinking these tests are ways to destroy their identity as a people. I explain that immigration patterns went both ways during the early years of exploration. Many of their people left the land of the Mikmaq to explore the land of the Europeans. Some of them had families or left descendants among the English, French, Dutch and Portuguese.  Some of these people are looking for the roots of their early heritage in the new world. Again, the explanation awakens mistrust that a new intrusion on their identity as a people is attempted. For gathering the data I must talk privately to each person. There is no help to talk to the group at once since the Mikmaq do not have a central leadership. Ay!

Et couper les cheveux en quatre! The Quebecois have an interesting language. I am certain they speak Franglish. Can you find me a Parisian to Francadian dictionary. I must spend most of this winter in the library here, and learning Franglish (ha ha ha). We will see what developments happen in the spring with the research.

Votre Ami,

Almoustine

P.S. You should soon receive a call from Donald Panther-Yates to arrange availability of test DNA packages to include the Native mericanmarkers. Please update the site to offer these packages to interested readers for a discount.

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Learn more about DNA testing and the Native American Tribes:

• Taino and Native American Testing
• What are the Risks to Tribes?
• How DNA testing protects Tribal Rights
• Losing a Tribe (DNA studies and Religious Reconciliation)
• Rethinking Clovis
• mDNA-X
• Maps of American Ancestries
• Indigenous Peoples of America
• North American Mestiso Families

Stone Circle at Col d'Petit St. Bernard

The Col du Petit Saint-Bernard located in Savoie, France, to the south of the Mont Blanc Massif, is a high (2188 metres) mountain pass in the Alps on the France–Italy border. At the site of the pass is a massive stone circle. The diameter (72 m – 236ft) of this stone circle makes it one of the most important stone rings in mainland Europe.

The site has not been precisely dated but from coin finds at the site and from references by various ancient historians, the site has been attributed to the Iron Age Tarentaisian (La Tene) culture (c. 725 BC–450 BC). A Roman temple dedicated to Jupiter was later erected nearby along with a Roman mansion to serve travelers along the pass. The site of the circle is typically only accessible between the mid-Summer Solstice (June) and Samhain (October).

The Oculus Astra

Regarding the Etymology of the Val d’Aosta on the eastern side of the pass, the name is sometime believe to have been derived from the Roman appellate Augusta Pretoria; however earlier historians have alluded to an alternate etymology as reference to the region as a gateway to the “Astra Pretoria”Col d’ Petit St Bernard. This stone circle is now in ruins but originally consisted of 52 stones encircling a central pillar into which was set the (Oculus Astra) a rather large pigeon-blood Star Ruby which some referred to as the Jovis Eye.

A dolmen consisting of three large stones aligned to the sunset at summer solstice once stood in the center of the circle, but was removed during the modern age to build a road. The Romans historians referred to the central pillar as the Columna Jovis (Jove’s Column) and the mountains themselves on either side as the Altars of Hercules. It is believed by many scholars (me included) that the Carthaginian general Hannibal used this route to cross the Alps into Italy during his infamous conquest of Rome.

St Bernard, as a result of a vision wherein he is visited by St Nicholas, destroy the central pillar and its “escarbucle” as they were obstructions to the spread of Christianity. What Bernard did with the ruby is a mystery (although rumors exist of various jewels housed in the Vatican Archives), but the central pillar now serves as the pedestal of the statue in Bernard’s honor.

Following is an excerpt from the Satyricon of Petronius Arbiter.

“In the high Alps where the rocks trodden by the Greek god slope downward and allow men to approach them there is a place sacred to the altars of Hercules the winter seals it with frozen snow and heaves it up on its white top to the sky It seems as though the sky had fallen away from there the beams of the full sun do not soften the place nor the breezes of the springtime but the soil stands stiff with ice and winter’s frost its frowning shoulders could support the whole globe.

When Caesar with his exultant army trod these heights and chose a place from whence he looked far over the fields of Hesperia and lifted his voice and both hands to the star and said ‘Jupiter Lord of all … I call you to witness that I do not willingly summon the War God to these hosts and that my hand is not raised willingly to strike But I am driven on by need.’

As he spoke these words aloud the Delphic bird gave a happy omen and beat the air as it flew then from the left quarter of a gloomy grove strange voices sounded and fire flashed thereafter. And the orb burned brighter than Phoebus wont and set a burning halo of gold about his face.”

The Fugate Family of Kentucky

Cher Almoustine,

While you are up enjoying the brisk Canadian Weather, I am busy holding down the fort here at home. My son and his family just moved into the apartments downstairs, the house is busy but the up side is I get to enjoy my granddaughter on a daily basis. it slows down the research somewhat but is will worth it.

Regarding the blue men legends… I encountered a tidbit about our shared ancestry that may interest you. It seems many of the descendants of the Muscheon/Legant/Fougere family of Huguenots (at least those who maintained the maritime trade between the East/West Indies, Europe and Middle Colonies during the 1600s) are carriers of Methemoglobinemia (aka. the “Blue Blood/Pictish Gene”).

So far we can identify three main branches of the family who settled in Scandinavia (Musteen/Muscheon), Ireland (Leggat/Legant/Legare), and Kentucky (Fugate/Fougere).

This trait results in a blue tint to the skin (particularly lips and nail beds) and can lead to blue baby syndrome (babies born blue but with otherwise healthy Apgar scores). Also, contrary to popular belief… Methemoglobinemia is not a disease (unless it is occasioned by chemical poisoning, or a heart defect) nor is it deadly; studies indicate that individuals (even the most blue) frequently live lengthy, healthy, lives. Hereditary Methemoglobinemia it is an autosomal recessive genetic trait with a yet undetermined origin. Although the blue skin tones associated with this trait usually fade during infancy, population bottlenecks where cousins frequently intermarry may give rise to a race of people who have blue skin permanently. This bottleneck phenomenon has been documented in Finland, Ireland, and Kentucky.

Almoustine, you and I are both carriers of this trait. Your ancestor, Thomas “The Musteen” of Virginia had ties to the East Indies, Madagascar, East Asia, and Haiti, the Musteen’s of Finland were frequent traders between Scotland, Scandinavia, and Holland along the Baltic and Barent Sea routes. My family tree links to both Fougere and Legant (all documented carriers of this trait).

I am posting this on the site in case anyone interested in helping me to research this unique lineage may contact either of us via our Research Page on Methemoglobinemia .

Pamè Mon Chèrie

Ce matin je suis dans le port de Lunenburg, Nova Scotia. Je suis sur ma façon de rencontrer Mikmaq local.Je poursuis le insaisissable “mDNA-X”. Je vous garderai informés de mon progrès. J’essaierai aussi d’écrire plus dans l’anglais.

Je sais que votre nom de jeune fille est Magee, donc vous le trouverez bizarre. Les Miqmaq s’appellent comme le Megu-maagee.

J’envoie les informations d’ADN au laboratoire à Salt Lake City. Vous pouvez vérifier avec notre contact là pour voir les résultats. Les données à propos l’histoire et la langue du Miqmaq je vous enverrai directement.

Je votre ami,
Almoustine